LESSON 1

One of the things that I am often asked is, if there is a difference between soloing in pop and rock music, vs soloing in jazz. My answer is a definite yes!!!!

This is usually followed up by, to play pop and rock do they need to know in depth theory, and I follow it with; there is no escaping the need to know theory. Though soloing in these styles do vary as compared to jazz; that doesn’t mean you don’t need an understanding of basic chord structures if you want your solos to be remotely interesting.

In the next few classes I will discuss sax solos and how they vary in styles because they do vary. Note I said vary, not, easier or less interesting. If you doubt check out Candy Dulfer’s Interview on jazz TV where she discusses transitioning to pop solos and the complexities of the limit placed upon soloing.

In jazz you can usually do 34 and even 64 measure solo and not bat an eye. This gives you time to build things up and tell a story; and in some cases give an entire dissertation. LOL. In pop and rock though in most cases you have 4, 8 or 12 measures rarely more to express what you want to in your solo and tie it up for the vocals to continue. This is sometimes harder than one may think and this is why the theory is important.

There are a few basic things to know when starting your pop and/or rock solo. Granted knowing your Ionian or Mixolydian scales are not as important in these styles. Knowing the structure of your major triads and make-up of minor chords are still imperative. Because once you know these basic rules you can break them, cause rules for the most part were made to be broken after all.

Lesson 1 The Basics

The scale; without going overboard on the structure (you must know that there are 13 half steps an octave, your major scale is comprised of 8 notes. These eight notes are set in a specific pattern lets look at the C Major Scale;

C Major Scale

NotesC D E F G A BC VVVVVVVSteps11½ 111½

As you will note between the first, second and third note there is a whole step, between the third and fourth note there is a half step. Between the fourth and fifth note there is a whole step and then the pattern in the first half is repeated. If you follow this pattern starting on any note you can figure out the major scale.

Now if you take the first, third and fifth note of the scale that is called the triad or a basic chord; in this case we are talking about C, E, G

Now let’s look at the intervals for the triad;

1-The interval between the root and 3rd is called a major 3rd. That means that the interval is made up of two whole tones (or 4 semitones)

2-The interval between the root and 5th is a perfect 5th (two tones, a semitone and a tone, or 7 semitones)

3-The interval between the 3rd and 5th is also a 3rd, but this is a minor 3rd as it is made up of a tone and a semitone - or 3 semitones

Another possible scale used in the key of C is the F scale. Its major triad is F, A, C. Now this may get a little complicated but I hope you can follow. F is the root, or first note in the F scale but the fourth note in the C scale.

Now that the interval between the 1st and 3rd is also major 3rd (like the C chord), the interval between the 1st and 5th is a perfect 5th and so this is also a major chord (a triad again as there are only three notes).

Your basic 12 bar blues chord pattern usually use only three chords. So far we have reviewed the I and IV chords. The next chord is built on the 5th degree so it’s the V chord. In C this is the chord of G, and if you look at the intervals between the 1st and 3rd, and the 1st and 5th, these are also a major triad.

Usually at first glance this may seem a bit difficult but if you take the time to review it especially if you use a keyboard image it will help to make more sense of this. See the image below;

Work on this and I will be loading the next lesson soon. If you have any questions use the contact tab and send me your questions.